Nowadays, video and mass media is no longer the carrier of mechanical reproduction. They smash the previous physical experience of people, and then revitalise them, to make modern expression of Scientism to be invalid. Meanwhile, contemporary thoughts still pin their hope onto “red” or “blue” modernism, to make a critical judgment about contemporary society.
Before an exhibition in 2014, Shao Yi had a discussion with young scholar Zhang Wei through annotating the excerpts of Benjamin’s writing “The Work of Art in the Age of Mechanical Reproduction”. Then he made silk printing on the mirror glasses and smashes them in the exhibition space. By using the glass as a metaphor, Shao Yi presented the violence in peaceful daily relationships between flesh and object, body and object, so that to compel the original feeling between human and object.
With the different methods of technical reproduction of a work of art, its fitness for exhibition increased to such an extent that the quantitative shift between its two poles turned into a qualitative transformation of its nature. This is comparable to the situation of the work of art in prehistoric times when, by the absolute emphasis on its cult value, it was, first and foremost, an instrument of magic. (Only later did it come to be recognized as a work of art.)
Note 可展示性: The potential to be spread
Note 巫术工具: Disconsolateness of Eliade
The worldwide representation of icon and prehistoric universal religion---Samen